Castle Rock AIKIDO. Student Handbook. a physical path to self-mastery Castle Rock AIKIDO, All Rights Reserved.

Transcription

1 Castle Rock AIKIDO Student Handbook a physical path to self-mastery Castle Rock AIKIDO, All Rights Reserved.

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3 Mission Statement Our mission is to forge in our students a strength of character so strong, that conflict becomes unnecessary. Many assume that the conflict we refer to in this mission statement is physical conflict, such as fighting with others. However, the conflict we mean to emphasize is inner conflict - the mental, emotional and even spiritual conflict most of us struggle within each and every day. Through the practice of Aikido we discover within ourselves a physical path to self-mastery

4 What is Aikido? True victory is self-victory. Morihei Ueshiba Aikido is a powerful martial art developed throughout the mid-20 th century by a Japanese man named MORIHEI UESHIBA. Aikido differs from most other martial arts in that the practitioner seeks to achieve self-defense without necessarily seriously injuring his or her attacker(s). Furthermore, Aikido is non-competitive and, therefore, there are no tournaments or sport applications in Aikido. Generally speaking, Aikido is most often practiced with a partner where one person functions as an attacker (UKE) and the other person practices defensive Aikido techniques (NAGE). About half of Aikido s techniques involve joint locks which enable the partner or "attacker" to be moved to a pinning position where they can be held without serious injury. Other techniques involve throwing one s partner to the ground. An Aikido student spends a great amount of time learning how to fall safely. Proper falling is a fundamental skill to the practice of Aikido. Most attacks are linear in nature, whereas the basic movements of Aikido are circular. An Aikido student harmonizes with, rather than directly confronts the linear attack and converts the energy of that linear attack into a circular energy that, ultimately, renders the attacker or attackers helpless. All Aikido techniques follow a basic formula of: 1. Get off the line of attack and blend with the momentum of the attack; 2. Take the balance of your opponent; and 3. Redirect the attacking energy and momentum to a peaceful resolution Instead of using potentially crippling kicks and punches, Aikido students learn to apply numerous wristlocks, arm pins, or unbalancing throws to neutralize aggressors without injury. Aikido is a 100% defensive martial art. The so-called "attacks" taught in Aikido are merely for purposes of learning to defend against rather than for the purpose of initiating an attack upon another. Spectators often describe Aikido as looking almost dance-like. This quality is essential to the safe and effective practice of Aikido. Aikido s techniques can be so devastating that if the two Aikido practitioners do not harmonize their respective movements carefully, injury could easily occur. Students quickly discover that the strength of Aikido lies not in muscular force, but in the careful and deliberate expression of position, timing, and control. The uniqueness of Aikido makes it possible to experience deep levels of mental relaxation, emotional calmness, acute concentration and peak physical fitness in our daily lives. Aikido is the education and refinement of the spirit.

5 The Purpose of Aikido The purpose of Aikido training is not just perfection of a martial skill, but also the improvement of one's character. Greater than that of self-defense, Aikido s objective is to contribute to the making of a better society through the united training of body, mind and spirit. The developer of Aikido, KISSHOMARU UESHIBA, spent decades spreading a message of peace through the art of Aikido. Being a martial art, people are often surprised, even perplexed to learn that Aikido means "the way of harmony." KI (pronounced key ) is the Eastern philosophical concept of the universal creative principle of life the life force or breath. KI is at the heart of Aikido both in concept and in word. When the word is broken down into syllables it reads AI-KI-DO. AI = Harmony / Connection KI = Spirit / Energy DO = Way / Path There are two types of ki: ordinary ki and true ki. Ordinary ki is coarse and heavy; true ki is light and versatile. In order to perform well, you have to liberate yourself from ordinary ki and permeate your organs with true ki. That is the basis of powerful technique. Morihei Ueshiba Literally, Aikido translates as the way of harmony with KI. Aikido seeks to unite this KI of the Universe with the KI found within each person. The Founder of Aikido believed that a person was at their highest level of self-actualization when universal KI and one s personal KI were aligned. Use of the word KI or spirit in a Japanese context doesn t imply a religious connotation. Rather, it recognizes the inherent energy found in all living and non-living things all matter and non-matter, that is.

6 The Philosophy of Aikido Much like a hurricane, tornado or tidal wave, the Nature s forces are efficient, rational, and soft, and their center is immovable, firm, and stable. Of course, these forces may not seem rational or soft relative to human experience, but relative to itself, these forces are perfectly balanced. This principle of a firm center and a soft, adaptable periphery is universally consistent -- and must be true for each person, as well. The culmination of Aikido is expressed by aligning one's own center with the center expressed throughout nature. One becomes "resilient" inside, yet this strength is expressed softly and powerfully. The movements of Aikido maintain this firm and stable center simultaneously emphasizing spherical rotation characterized by flowing, circular motions. These pivoting, entering and circling motions are used to blend with, to control, and to overcome an opponent. The principle of spherical rotation makes it possible to defend one s self from an opponent of superior size, strength and experience. Although Aikido movements are soft, logical and smooth, as are those found in nature, by applying a bit of force, these techniques can be devastatingly effective. The gentle quality of Aikido makes it appealing to many people. It not only provides excellent exercise and teaches proper etiquette and self-control, but for some it also offers spiritual growth and evolution. Aikido is invincible because it contends with nothing. Morihei Ueshiba

7 The Founder, Morihei Ueshiba ( ) Morihei Ueshiba was one of history's great martial artists. Even at age eighty, he could disarm any foe, down any number of attackers, and even pin an opponent with a single finger. Although virtually invincible as a warrior, he was, above all, a man of peace who detested fighting, war and any kind of violence. His way was that of Aikido, the art of peace. He is referred to as O Sensei, meaning great teacher. In Aikido, we never attack. An attack is proof that one is out of control. Never run away from any kind of challenge, but do not try to suppress or control an opponent unnaturally. Let attackers come any way they like and then blend with them. Never chase after opponents. Redirect each attack and get firmly behind it. Morihei Ueshiba Morihei Ueshiba spent his youth and early adulthood training under a variety of sword and Jujutsu masters. As he grew older he experienced increasing disquiet stemming, in part, from his rather violent youth, feeling that training for the sake of winning was not enough. One day, after a long, arduous period of training and meditation, he came to recognize an innate understanding that the true purpose of the martial arts was to be the promotion of universal peace and love. He saw that the ideal victory was a conflict resolved without winner or loser. He began to change his martial techniques and practices he had learned throughout his life and aligned his art with his new understanding. This led to the formal development of Aikido.

8 The 1 st DOSHU - Morihei Ueshiba ( ) The person at the head of the art of Aikido is referred to as DOSHU. Historically, the position of DOSHU has been a relative of the Founder s family in Japan. The DOSHU represents the highest official authority in the Aikido profession. 1 st DOSHU O Sensei, Morihei Ueshiba ( ) Morihei Ueshiba Timeline 1883 Born December 14 th in Tanabe City, Wakayama Prefecture, Japan 1912 Moves to Hokkaido Prefecture and meets Sokaku Takeda, learns Daito-ryu Aiki-Jujitsu 1919 Meets O. Deguchi of the Omoto Sect in Ayabe, Kyoto 1927 Moves to Tokyo with his family and begins teaching the Way of Aiki 1960 Receives the Shiju Hosho Medal from the Japanese government 1969 Passes away on April 26 th at the age of 86

9 The 2 nd DOSHU - Kisshomaru Ueshiba ( ) Kisshomaru Ueshiba is the son of the Founder of Aikido, Morihei Ueshiba. Kisshormaru assumed the title of Aikido DOSHU in May of 1969 after the death of his father. He maintained and developed the art of Aikido for thirty years. During his tenure as DOSHU, Kisshomaru made substantial contributions to the literature of Aikido, writing many articles and books about the art. Kisshomaru Ueshiba Timeline 1921 Born on June 27, in Ayabe, Japan 1956 Gives his first Aikido demonstration and begins to teach Aikido to the public 1957 Publishes the first Aikido textbook, aptly named AIKIDO 1969 Assumes the title of Aikido DOSHU 1995 Receives the Zui Hosho Medal from the Japanese government 1999 Passes away on January 4, at the age of 77 The 3 rd (and current) DOSHU - Moriteru Ueshiba Moriteru Ueshiba is second-eldest son of Kisshomaru Ueshiba and grandson of O Sensei. In 1986, Moriteru was appointed DOJO-CHO or Director of the AIKIKAI HOMBU DOJO. In 1996, he became chairman of the Aikikai Foundation and assumed the title of Doshu on January 4, 1999 following the death of his father. Moriteru Ueshiba Timeline 1951 Born on April 2, in Tokyo 1976 Graduates from Meiji Gakuin University, Faculty of Economics 1996 Becomes General Director of the HOMBU DOSHU 1999 Assumes the title of Aikido DOSHU

10 Our School Logo & Patch DOJO KAMON A Japanese martial art school s logo is often referred to as a dojo KAMON. A KAMON is an important aspect of any martial arts school because it often possesses symbolic significance reflecting the values and culture of the school. Below is the DOJO KAMON for our school. Waterfalls (TAKI) Water is a symbol of life, purity, and power. The two waterfalls in the Castle Rock AIKIDO DOJO KAMON represent the two universal sources of power: internal power and external power. They remind us that all things in life are created twice: first in the mind, and once again in the physical world. The two waterfalls are also meant to represent the multiple sources of power at Castle Rock AIKIDO. Our DOJO s strength is found in the acknowledgement of the value of each of our instructors and their unique backgrounds, experiences, and lineages. The waterfalls converge into a single pool where we can all teach, learn, share, and grow Aikido together in a unified, collaborative spirit. Japanese Kanji (MAKOTO) Within the turbulent water of the waterfalls bottom, an astute observer may notice the Japanese character for MAKOTO, which means honesty, sincerity, and integrity. Makoto is frequently articulated as one of seven virtues of Bushido. A student s journey along the Aikido path will, at times, challenge the student with questions relating to his or her degree of self-honesty and integrity in how a person interacts with oneself and with others. The virtue of MAKOTO will gradually emerge and/or increasingly reveal itself as a student progresses through the Aikido ranks. The longer a student practices the art of Aikido, he or she will discover new qualities and insights about themselves that can then be taken off the mat and into their day-to-day life. Red Stamp / Seal (HANKO) The red stamp or HANKO in the lower right corner of our logo also reads MAKOTO. Our school is committed to interacting with its students with integrity. Our fair, no contracts policy is just one representation of how we strive to conduct ourselves within a spirit of MAKOTO. Unlike many other martial arts schools, the students of Castle Rock AIKIDO can be assured that their Aikido dojo will always be a DOJO first, and a business second and not the other way around.

11 DOJO KAMON The Japanese characters or KANJI on the left side of the logo read 'AI'- KI'- DO, meaning "the way of peace and harmony" or "way of harmonizing energy." It is the name of our style of martial art. The KANJI on the right side of the logo read SHIRO IWA, which translates as Castle Rock, the town in which our martial arts school is located. Dragonfly (TONBO) In Japanese culture, dragonflies symbolize many things including courage, happiness, and martial success. The dragonfly (or TONBO) was a favored symbol of strength among ancient samurai and dragonflies were frequently depicted on samurai battle armor. This association came about as a result of the similarity between a Japanese word for victory (SHOURI) and one of many words for dragonfly (SHORYO). The significance of the dragonfly in the Castle Rock AIKIDO logo is multi-faceted; however, the virtue of courage is emphasized. It means, for example, having the courage to do what one believes to be right even when that means doing something that may be viewed as unpopular by others. In some cultures, dragonflies represent honesty and the transcendence of self-created illusions. The dragonfly in our KAMON also emphasizes transcendence. Through the diligent practice of Aikido each of us can transcend our own, personal, self-created illusions and discover how much more we are all capable of experiencing and having in our lives. Kamon Shape (TSUBA) Lastly, we must recognize the deliberate shape of the dojo KAMON. The perimeter of the logo is the shape of a TSUBA or hand guard of a Japanese samurai sword. The samurai sword is a powerful symbol in Japanese culture symbolizing, among many things, a person s soul and inner strength. Like the dragonfly, the hole of the TSUBA (that cone-like shape in the center of the logo) through which the sword s blade passes also represents personal transcendence because of how we all must, metaphorically, pass through our own personal challenges.

12 The Aikido DOJO In Japanese, DOJO means, training hall or even place of Enlightenment. The dojo is a place of learning. It is a place to respect, to take care of and to keep clean. A dojo is a place to be made special for the practice of a martial art. It is important to remember that the place where Aikido is practiced becomes, at least symbolically, a dojo. That place must be treated as a dojo regardless of whether that place be a gymnasium, a church or a even a person s home. All students should take a responsibility to help in whatever way they can, or in whatever way is asked of them, to keep the dojo clean. This is a part of Aikido tradition. GESSHA Dojo Tuition / Membership Dues In Japan, Aikido students do not pay monthly tuition or membership dues, which is common in the United States. Instead, Aikido students offer GESSHA (This word is not to be confused with GEISHA which is something completely different!). GESSHA roughly translates to English as a monthly appreciation. This monthly appreciation provides for a dojo to train Aikido in and demonstrates a way to show gratitude for the teaching received from your instructors. GESSHA is not a fee for service. It is not an exchange of monies for Aikido instruction. After all, you cannot buy good technique. A student s GESSHA is for the privilege of being a member of the dojo. The monies you offer for your Aikido training to Castle Rock AIKIDO represent your GESSHA to your instructors and to your dojo. Unless you no longer wish to train at Castle Rock AIKIDO, your GESSHA is expected regardless of how many or how few classes you are able to attend in any given month.

13 Aikido DOJO Etiquette and Class Protocol Upon entering the DOJO, do standing bow. This bow represents your respect for the practice area. Before entering the practice area of the Aikido dojo, change into your Aikido uniform (DOGI or just GI) and remove all jewelry including wedding bands. If you choose not to remove your wedding band, please don t complain about broken fingers later. When you enter the practice area, perform a seated or standing bow in the direction of the KAMIZA. The KAMIZA is located at the front end of the dojo and usually will have a picture of the Founder and/or decorative scroll on the wall. A seated bow is more formal than standing bow. A bow represents your intention to begin Aikido practice. PRIOR TO THE BEGINNING OF CLASS You may stretch, practice falling/rolling (UKEMI) or other Aikido techniques on your own until class starts. This is a great time to prepare yourself mentally for class. Please be quiet and keep idle chatter to a minimum. BEGINNING CLASS Aikido class starts with the participants lining up in rank order across the edge of the practice area, seated in a traditional, Japanese kneeling (or SEIZA) position and facing the KAMIZA. Senior rank students should be on the end closest to the dojo door. Calm yourself, empty your mind and prepare for the class. Sensei may call out MOKUSOU, which means, calm your thoughts. To do this, close your eyes and breathe slowly. The instructor will then bow to the front and may clap twice or not at all. If the instructor claps the students should also clap in unison with the instructor. The proper way to sit during class is in the formal Japanese kneeling SEIZA position. If this position is not possible for a student, a cross-legged sitting position is also permitted. If a student has a particular problem with their knees or feet that interferes with the ability to sit in SEIZA, make sure the instructor is informed of the problem. Slouching, slumping, or leaning is not conductive to the practice of balance and centering. Students should not sit with legs outstretched. To practice properly Aikido, you must calm the spirit and return to the source. Morihei Ueshiba

14 Aikido DOJO Etiquette and Class Protocol SHOMEN NI REI The instructor may then say, SHOMEN NI REI or simply REI. This means bow to the front. This bow represents the beginning of the class and preparing for instruction. Bows directed to the KAMIZA also symbolize respect for the spirit and principles of Aikido and gratitude to the Founder for developing this system of study. Aikido was founded and developed by a very religious man. However, Aikido is not religious and does not conflict in any way with any religious beliefs or doctrine. Bowing in the dojo is not a religious act, but rather a sign of respect for the dojo, your fellow students (AIKIDO-KA) and the art of Aikido. You could say it is the equivalent in American culture to a handshake. ONEGAI SHIMASU After this initial bow, Sensei will turn to participants. Both participants and Sensei will then bow to each other simultaneously. Upon bowing to each other, all will say ONEGAI SHIMASU or sometimes KONBA WA, which means good evening. ONEGAISHIMASU can be interpreted many ways. However, the intent is Let s start and learn together. When spoken by the student it means, "Please give me your instruction." When spoken by the teacher it means, "Please do what is expected of you," or "Please receive my instruction." WARM UP EXERCISES Warm up exercises help prepare the body for Aikido practice and help prevent injury. Particular attention is paid to the wrists, for this is where many Aikido techniques begin and end. Stretches to the wrist include KOTE MAWASHI, KOTE HARI, NIKYO, SANKYO, and KOTEGAESHI. UKEMI Warm up exercises continue with practice rolls (UKEMI). Ukemi help prepare the body for falling during Aikido practice. This also helps prevent injury. Both front rolls (MAE KAITEN UKEMI) and back rolls (USHIRO KAITEN UKEMI) will be practiced. SHIKKOU SHIKKOU is a knee-walking exercise unique to Aikido that builds hip strength and improves your body movement on Aikido techniques.

15 Aikido DOJO Etiquette and Class Protocol AIKIDO PRACTICE (WAZA) Sensei will usually pick one student at a time to demonstrate each technique practiced in class. When your name is called to be a UKE, promptly hop up and sit in SEIZA, or stand if more appropriate, facing Sensei and bow. Sensei will usually call the attack he/she wants you to do and then demonstrate the technique for the class. When Sensei finishes demonstrating the technique, sit in SEIZA, again, facing sensei and wait. Sensei will name the technique and bow. The class is then free to practice that particular technique with a partner on their own. Select a partner to practice the demonstrated technique. Before practicing the technique, you should bow to your partner and again say, ONEGAISHIMASU. Then start practicing the technique. We usually practice the technique with a front engagement (OMOTE) and with a rear engagement (URA). Practice the technique both on the left and right sides. Therefore, practice the technique a total of four times as the thrower (NAGE) before switching roles and letting your partner practice the same technique on you. You are then in the role of the throw-ee (UKE). THE NEXT TECHNIQUE When Sensei claps his/her hands and/or says, YAME, which means stop, bow to your partner and say, ARIGATOU GOZAIMASHITA. This phrase means, Thank you for practicing with me. Sit in SEIZA where you are or line back up as you did at the beginning of class and get ready to observe the next technique demonstrated by Sensei. ASKING QUESTIONS DURING CLASS If you have a question for the instructor during class, address the instructor as Sensei. If there is more than one instructor on the practice area, address the instructor by their last name followed by Sensei. ENDING CLASS The formal closing of class is similar to the starting of class. Again, sit in SEIZA at the edge of the practice area facing the KAMIZA. Sensei and students will bow to the front and then may clap twice. Again, clap in unison with the instructor. Some instructors clap before and after class, while others do not clap at all. The closing bow represents the end of formal instruction. Sensei will then turn to the class participants and both Sensei and participants will bow to each other and say, DOMO ARIGATOU GOZAIMASHITA. This is the most respectful way of saying thank you. Sensei will often make comments about the techniques practiced in class, give feedback to the students and/or make any announcements he/she has for the dojo. Upon finishing, Sensei will stand and leave the practice area. Students will remain in SEIZA until he/she has left the practice area. Then students bow again to the front. Participants are then free to leave the practice area or continue practicing on their own.

16 Aikido DOJO Rules Our dojo follows traditional and formal Aikido etiquette. You are not expected to know formal Aikido etiquette. You learn it simply by coming to class. The DOJO is the place of the succession of the Founder s teachings. It is the responsibility of each student to act appropriately and to respect those teachings. Be aware of your limitations. Every student has different physical abilities and different reasons for study. These must be respected. True AIKI is the proper application and adaptation of a technique appropriate to any given practice partner or situation. It is your responsibility to cause no injury to your training partner or yourself. The DOJO is a Ego-Free Zone There will be no personality struggles within the DOJO. It is the responsibility of each student to cooperate in creating a positive atmosphere of harmony and respect for one another. Try to be on time but come anyway. Please arrive at least 10 minutes early to help prepare for Aikido class. This may include helping set up or clean mats. It is important to participate in the formal opening of class because it sets the intention and tone for each class. If you are unavoidably late that is not a problem. We d rather have you come to part of a class than not at all. Quickly change into your GI, then kneel at the mat s edge in the formal seated kneeling position of SEIZA. Wait there until the instructor signals you to join the class. Quietly perform a seated bow, then step on to the practice area. Do not leave the practice area during class (even for water) without informing a practice partner or an instructor. This is both polite and a safety measure. When entering or leaving the practice area during class, do a standing bow at the edge of the mat facing the KAMIZA. Keep talking on the practice area to an absolute minimum. Aikido is learned through physical experience, not by talking. Remember: You have two ears and one mouth for a reason! When working in groups of three, stand off near the edge of the mat until it is your turn to rotate in and practice. Some schools request that students sit in SEIZA as they wait for their turn to practice. However, in our DOJO you should stand off to the side so that you can move and get out of the quickly should a fellow student suddenly fall or roll in your direction. This is for everyone s safety. Sit in SEIZA or take a knee and watch intently when receiving personal instruction from Sensei or a guest instructor. Bow formally when the instructor has finished. When another student nearby is being instructed, you may stop your practice to watch. Again, sit formally and bow. Follow the instructions of the SENSEI. For safety reasons, respect and courtesy, it is essential that the teacher s instructions be followed exactly. Many Aikido techniques can be dangerous if not practiced properly. Be polite. Respect those students more experienced than you are and those less experienced than you. Never argue about technique. Similarly, respect those students with less experience. Do not pressure your ideas on others. The SENSEI should be the only one instructing in class.

17 DOJO Health, Safety & Hygiene Body Odor: NO ONE WANTS TO TRAIN WITH A STINKER!!! Students who smell of body odor will be asked to leave for the day. If it happens again the student s membership will be terminated without refund. Bad hygiene is disrespectful and offensive to the instructors and other students creating an unpleasant training environment. It s OK to go home sweaty and stinky, just please don t arrive that way! Shower before class if you must, use deodorant, and check your breath before class! It might be a good idea to keep some hygiene supplies in your uniform duffle bag. Nails: Fingernails and toenails must be cut short to avoid injuring fellow students. Keep clippers in your dojo bag. Smoking: People who smoke cigarettes are not permitted to train at Castle Rock AIKIDO because no one wants to train with a student that stinks of cigarettes. Alcohol: Intoxication will not be tolerated. Students who consume alcohol before Aikido class will be asked to leave the mat for the day. If it happens a second time the student s membership will be terminated without refund. Illness: Do not come to class is you have a contagious cold. You should come to class and watch class (and receive credit for watching) if you are not contagious. Aikido class requires a lot of hand and wrist grabbing, which can provide a means of illness transmission. Cold Sores: People typically touch their faces 3-5 times per minute and the virus that causes cold sores is extremely contagious. Do not come to class and/or do not train if you are temporarily experiencing an active cold sore. We don t want any inadvertent transmission. Respect your training gear. Your GI should always be freshly cleaned and mended. No eating, drinking or gum chewing on the practice area. Remove all jewelry (including wedding bands). Jewelry is a potential hazard on the mat. It is each student's responsibility to assist in the cleaning the DOJO before or after each class. Although there seem to be many forms of etiquette to remember, they will become natural and intuitive as you continue to train. There is no need to be embarrassed or offended if you are corrected on a point of etiquette, for each one is important to your safety and to the learning experience. In extreme situations, the entire Universe becomes our foe; at such critical times, unity of mind and technique is essential do not let your heart waver. Morihei Ueshiba

18 The Proper Role of UKE and NAGE YAKUSOKUGEKO Since Aikido is about avoiding struggle and performing each technique with the least amount of effort, we must consider our roles as both UKE and NAGE. As NAGE, first and foremost, it is our responsibility to protect UKE. If there is resistance, if one is off-balance or if the technique is not going as it should, just relax, slow down and find your way. Aikido is about power an inner power rather than force. Try not to force a technique. As NAGE it is our responsibility to smoothly establish and maintain a connection with UKE throughout each technique. As UKE it is our responsibility to provide a realistic attack (but not overly aggressive), and then move our bodies in relationship to NAGE s movement so as to be in the safest position possible, while maintaining a sense of connection and martial intent. Grabs by UKE should be firm, but not rigid. They should exhibit what one of our students coined cooperative resistance. The rest of the body should remain fairly loose and able to adapt to the situation. Strikes by UKE should have good extension, without locking out your own joints. Locking out joint can lead to injuries. Always try to keep some bend in the elbows, and give about 95% of your full energy. You do not want to over commit and not be able to react as needed. The loss of connection is an opportunity for either UKE or NAGE to commence a new attack. Therefore, maintaining the connection is of the utmost importance. Remember, you practice UKEMI in order to avoid injury. As UKE, you must be able to respond appropriately to each situation. This requires much training and introspection as to how to best accomplish this. Free of weakness ignore the sharp attacks of your enemies: Step in and act! Morihei Ueshiba

19 Training Tips for New Aikido Students 1. Come to Class!!! Seriously. Getting through the front door and on to the mat is all it really takes to make steady progress with Aikido. If you ll do just this, you ll do just fine. 2. Don t put any pressure on yourself. You re going to start getting it soon enough. Every student feels as uncomfortable and awkward as you probably do when they first start, too. 3. Don t over think anything or judge yourself. Get out of your thinking head and into your feeling body. Aikido is learned viscerally in the body, not necessarily the thinking mind. 4. Know that you can t fall behind! If you miss a few weeks or a month of class, that s not a problem. Lots of our students do that from time to time. There is nothing to fall behind on and no one to fall behind to. Aikido is not a competitive martial art, so you aren t in competition with anyone. 5. Know that you are NOT a burden to any of the other students. The more experienced students are thrilled that you have joined the dojo and are excited that you are taking an interest in Aikido. They want you to be here. So, don t ever feel self-conscious. 6. Smile. This is supposed to be fun! The real Art of Peace is not to sacrifice a single one of your warriors to defeat an enemy. Vanquish your foes by always keeping yourself in a safe and unassailable position; then no one will suffer any losses. The Way of a Warrior, the Art of Politics, is to stop trouble before it starts. It consists in defeating your adversaries spiritually by making them realize the folly of their actions. The Way of a Warrior is to establish harmony. Morihei Ueshiba There are no contests in Aikido. A true warrior is invincible because he or she contests with nothing. Defeat means to defeat the mind of contention that we harbor within. Morihei Ueshiba

20 Aikido Fundamentals At-a-Glance TEKUBI UNDO (Wrist Exercises) 1. KOTE MAWASHI IKKYO First inward wrist exercise (a.k.a. IKKYO UNDO) 2. KOTE MAWASHI NIKYO Second inward wrist exercise (a.k.a. NIKYO UNDO) 3. KOTE HINERI SANKYO Wrist twist (a.k.a SANKYO UNDO) 4. KOTE OSHI YONKYO Wrist Push (a.k.a.yonkyo UNDO) 5. KOTEGAESHI Outward wrist turn 6. KOTE HARI Forearm stretch (a.k.a. HIJI UNDO) 7. TE SHINDO Hand shaking exercise The Three Elements of All Aikido Techniques 1. AIKI Blending with your opponent s energy 2. KUZUSHI Taking your opponent s balance 3. SHISEI Maintaining your posture The Formula of All Aikido Techniques 1. Get off the line of attack and blend with your opponents momentum 2. Take your opponent s balance 3. Redirect your opponent s momentum KIHON KATAME WAZA (Basic Holding Techniques) 1. UDE OSAE (IKKYO) Arm pin 2. KOTE MAWASHI (NIKYO) Wrist in-turn 3. KOTE HINERI (SANKYO) Wrist twist 4. TEKUBI OSAE (YONKYO) Wrist pin 5. TEKUBI FUTAE (GOKYO) Wrist fold pin KIHON NAGE WAZA (Basic Throwing Techniques) 1. SHIHONAGE 4-sided throw or spinning cut throw 2. IRIMINAGE Entering throw 3. UCHI KAITENAGE Inward rotary throw 4. SOTO KAITENAGE Outward rotary throw 5. KOTEGAESHI Wrist out-turn throw

21 Basic Exercises KIHON UNDO TAI NO HENKA HO (Body Changing Exercises) IRIMI TSUGIASHI TENKAI (Hand up, slide and pivot) IRIMI KOSA ASHINAMI (Cross-step and pivot) TENKAN TE SHITA (Scoop hand down and pivot) TENKAN TE YOKO (Sweep hand laterally and pivot) UKEMI HO (Falling and Rolling Exercises) MAE IKKYO (Front Fall) MAE KAITEN (Front Roll) USHIRO (Back Fall) USHIRO KAITEN (Back Roll) YOKO (Side Fall) YOKO KAITEN (Side Roll) IRIMI HO (Entry Exercises) SHOMEN-UCHI UKE-NEGAESHI AYUMIASHI (AI-HANMI) SHOMEN-UCHI UKE-NEGAESHI TSUGIASHI (GYAKU-HANMI) YOKOMEN-UCHI AYUMIASHI (AI-HANMI) TSUKI TENKAN TSUKI TENKAI FUNEKOGI TO TEGATANA KOGEKI UNDO (Attack Exercises) SHOMEN-UCHI AYUMIASHI SHOMEN-UCHI TSUGIASHI YOKOMEN-UCHI AYUMIASHI YOKOMEN-UCHI TSUGIASHI MUNE-TSUKI AYUMIASHI MUNE-TSUKI TSUGIASHI MEN-TSUKI AYUMIASHI MEN-TSUKI TSUGIASHI

22 How to Understand the Names of Aikido Techniques Generally speaking, Aikido techniques do not have specific names. Instead, the have descriptions. This is why there are often multiple names for the same technique. If you understand the grammatical structure of an Aikido technique, you can often perform the technique even if it is the very first time you ve ever heard of the technique. Aikido techniques are named in two parts: The Attack or Grab + The Defensive Move For example, SHOMEN-UCHI IKKYO is made up of two parts: SHOMEN-UCHI + IKKYO (Front + Overhead Strike) + (1 st Wrist Technique) Foster and polish the warrior spirit while serving in the world; illuminate the path according to your inner light. Morihei Ueshiba

23 Time & Technique Requirements for Rank Promotion The examination system in Aikido is not structured on competition. Your progression will be graded on the following criteria: Your understanding of basic technique appropriate to your level Your spontaneous movement and response appropriate for the attack Your ability to blend and adapt your movement to the force of the attack Your awareness, confidence, and concentration maintained throughout the examination Your fluidity and continuity of movement (not necessarily speed) Your ability to suppress your ego Be prepared to act as UKE for someone else of your same level during the examination period. You will also be graded on your UKEMI, particularly in your ability to follow techniques as UKE. A technique should be demonstrated continuously both left and right sides until there is a signal from the examiner(s) to stop. Both OMOTE (moving toward the opponent s front) and URA (moving toward the opponent s rear) movements should be used whenever applicable. You will be expected to know and respond to the Japanese terms during examination. It is also necessary to have completed the requisite number of hours of training and it is necessary that sufficient time has passed since the previous examination. Be sure to accurately record your hours of training in the DOJO student log. In your training, do not be in a hurry, for it takes a minimum of ten years to master the basics and advance to the first rung. Never think of yourself as an all-knowing, perfected master: you must continue to train daily with your friends and students and progress together in Aikido. Morihei Ueshiba Instructors can impart only a fraction of the teaching. It is through your own devoted practice that the mysteries of Aikido are brought to life. Morihei Ueshiba

24 Aikido Dojo Testing Etiquette Protocol REIHO BOWING IN AT THE BEGINNING OF THE EXAM Line up as you normally would in a typical class sitting in SEIZA and face the SHOMEN. The SENSEI will call out the testing candidate s name and UKE. For example, John Jones. testing for the rank of ROKKYU (6 th rank) and UKE, please come forward. The testing candidate should then SHIKKOU (or knee-walk), if they are able to. Their UKE should follow in SHIKKOU and sit to the right of the testing candidate approximately 3 feet apart from each other and centered in front of the SHOMEN. If more than one pair of students are testing simultaneously, all the students should still center themselves in front of the SHOMEN. The SEMPAI (the senior-most person testing for rank) will then call out three commands: 1. SHOMEN NI REI This means Bow to the front. All testing candidates and their UKE bow to the SHOMEN. Then all students will simultaneously turn to the SENSEI (instructor or instructors). The SEMPAI will then say 2. SENSEI-GATA NI REI This means Bow to the instructors. If only one instructor is present the correct phrase would simply be SENSEI NI REI. All testing candidates and UKE bow to the teachers. Next, all participating students will simultaneously turn to their respective NAGE and UKE. The SEMPAI will then say 3. OTEGAI NI REI This means Bow to each other. All testing candidates and UKE bow to their respective partner. Now, remain in SEIZA and wait for the first technique to be called out by the SENSEI.

25 Aikido Dojo Testing Etiquette Protocol (continued) SHINSA - DURING THE EXAM After the REIHO (bowing) is complete, the testing techniques will begin. The testing candidate shall act as NAGE. If your partner is also testing for the same rank, the more senior student shall be NAGE first. Take the appropriate HANMI stance and get ready to receive the attack from your UKE. Demonstrate the requested techniques exactly as you would in class and in this order: 1. HIDARI HANMI, OMOTE (Left stance, front) 2. MIGI HANMI, OMOTE (Right stance, front) 3. HIDARI HAMI, URA (Left stance, rear) 4. MIGI HANMI, URA (Right stance, rear) If your partner is also testing for the same rank as you, switch roles as NAGE and UKE and repeat these 4 steps with your partner. Repeat this process until you hear YAME (meaning stop ) from the instructors. If your partner is not testing for the same rank as you, do not switch roles and, instead, continue repeating these same 4 steps yourself until you hear YAME. This format will continue until the end of your exam. OWARI NO TOREI BOWING OUT AFTER FINISHING THE EXAM The ending REIHO is exactly like the beginning REIHO except that it is done in reverse order. Testing candidates shall fix their GI neatly with their back to the SHOMEN, then line up facing the SHOMEN as they did before. The SEMPAI shall then call out the same three commands in reverse order. 1. OTAGAI NI REI 2. SENSEI GATA NI REI (or SENSEI NI REI ) 3. SHOMEN NI REI The instructors will then tell the student(s) to return to the main line. Both NAGE and UKE will SHIKKOU (knee-walk) backwards for two steps then turn around and return to the line.

26 10 Testing Tips for NAGE 1. Relax and breathe. If you pass out, you won t be able to complete your techniques! 2. Be smooth, not jerky. The teachers want to see that you understand the technique and are not muscling your partner. 3. Go slow, not fast. Remember, you are demonstrating your knowledge of the techniques to the instructors. If you do the techniques too fast, your instructors won t be able to judge them. 4. Pace yourself. If you race through your test you will tire prematurely. 5. Maintain ZANSHIN (an acute martial awareness). Don t turn your back on your UKE at any time. 6. Relax and breathe some more. 7. Don t stop. If you make a mistake, complete the technique anyway even if it is the wrong technique! Just don t stop! 8. Don t hurt your UKE. Be aware of the UKE s physical limitations. You UKE is loaning you their body, so be sure to take care of it. 9. Have fun! 10. Oh, yeah. Relax and breathe. 7 Testing Tips for UKE 1. Relax and breathe. 2. Provide Cooperative Resistance Your job as UKE is to help NAGE look good, not struggle. So, don t be a brick, but don t be Jello, either. 3. Follow To avoid pain, be sure to follow your NAGE s movements. If it hurts too much, that means your not following the technique well. 4. Don t forget to tap! Give your NAGE good information by tapping the mat firmly and loudly when your joints are reaching their limits. Don t try to be tough and take the pain. Tap! 5. Match your NAGE Try to match the pace set by your NAGE. Don t rush him/her, but don t slow them down either. 6. If you need to stop being an UKE speak up! We don t want anyone getting hurt during a test. 7. Have fun! Watch a Sample AIKIDO Test If you d like to see a good example of an Aikido test, click on the Aikido Testing Requirements page from the Student Corner or our web site: There you can watch a 10 minute exam of a student testing for YONKYU (or 4 th KYU). Student Corner Aikido Testing Requirements

27 From White Belt to Black Belt Aikido Testing Requirements There are an infinite number of techniques in the art of Aikido. It would be impossible to list them all. The following represents the minimum testing criteria for each Aikido rank at Castle Rock AIKIDO. Each rank is cumulative. Students must be able to execute all techniques for the rank being tested for plus all techniques from the preceding ranks. Testing Requirements for 6 th Rank ROKKYU Minimum 40 hours practice KUZUSHI WAZA (Off-Balancing Exercises) TAI NO HENKA IRIMI (TE-UE & KOSA-ASHI ) TAI NO HENKA TENKAN (SHITA & YOKO ) ASHI-SABAKI TO KAITEN UKEMI (Footwork & Rolling Exercises) ASHI-SABAKI UNDO (8-Step Basic Footwork exercise) SHIKKO (Knee Walking, if able) MAE TO USHIRO KAITEN MAKI (Front & Back Rolls) YOKO ROKKA (Back Fall) WAZA (Techniques) SHOMEN-UCHI IKKYO (OMOTE & URA) SHOMEN-UCHI IRIMINAGE (OMOTE & URA) MUNE TSUKI KOTEGAESHI (OMOTE & URA) KATATE-DORI SHIHONAGE (OMOTE & URA) RYOTEDORI KOKYUHO (SUWARI and/or TACHI) * * This same technique is also known as: KOKYU-DOSA and KOKYU TANDENHO

28 Testing Requirements for 5 th Rank GOKYU Minimum 60 hours practice SHOMEN-UCHI IKKYO * (SUWARI WAZA) SHOMEN-UCHI NIKYO * KATA-DORI NIKYO * (TACHI & SUWARI) KATATE-DORI NIKYO * KOSA-DORI NIKYO * KOSA-DORI UDE KIMENAGE * YOKOMEN-UCHI SHIHONAGE * YOKOMEN-UCHI IRIMINAGE * RYOTE-DORI TENCHINAGE (OMOTE, URA, TAIJIN) RYOTE-DORI SHIHONAGE * KATATE-DORI KOKYUNAGE (3 versions) - KOSA-DORI - TENKAI - TENKAN * Perform both OMOTE & URA

29 Testing Requirements for 4 th Rank YONKYU Minimum 80 hours practice SHOMEN-UCHI IKKYO, NIKYO, SANKYO, YONKYO * (TACHI & SUWARI) KATA-DORI IKKYO, NIKYO SANKYO, YONKYO * (TACHI & SUWARI) KOSA-DORI IKKYO, NIKYO, SANKYO, YONKYO * YOKOMEN-UCHI IKKYO, NIKYO, SANKYO, YONKYO * YOKOMEN-UCHI GOKYO * (TACHI & SUWARI) SHOMEN-UCHI IRIMINAGE * (SUWARI WAZA) SHOMEN-UCHI KOTEGAESHI * YOKOMEN-UCHI KOTEGAESHI * (TACHI & HANMI-HANDACHI) MUNETSUKI KAITENAGE (SOTO & UCHI TENKAN) * MUNETSUKI IRIMINAGE (OMOTE, URA, KOMI) USHIRO TEKUBI-DORI IRIMINAGE * (Top hand & Bottom Hand) USHIRO TEKUBI-DORI KOTEGAESHI * USHIRO TEKUBI-DORI SHIHONAGE * USHIRO RYOKATA-DORI KOTEGAESHI * USHIRO RYOKATA-DORI SANKYO * * Perform OMOTE & URA All technique are standing (TACHI) unless otherwise noted

30 Testing Requirements for 3 rd Rank SANKYU Minimum 100 hours practice KATATE-DORI SHIHONAGE (HANMI-HANDACHI) * KATATE-DORI IRIMINAGE * KATATE-DORI KOTEGAESHI * KATATE-DORI KAITENAGE UCHI & SOTO * KATATE-DORI KAGAMIGAESHI (KOMI & TAIJIN) KATATE-DORI UDE OSAE (URA only) KATATE-DORI SUMIOTOSHI (KOMI & TENKAN) USHIRO TEKUBI-DORI IKKYO, NIKYO, SANKYO, YONKYO * USHIRO KUBISHIME KOTEGAESHI * USHIRO KUBISHIME IRIMINAGE * USHIRO KUBISHIME KOKYUNAGE USHIRO RYOKATA-DORI IKKYO & SANKYO * SHOMENUCHI IRIMINAGE * (HANMI-HANDACHI) KATATE-DORI JIYUWAZA HAKAMA FUTAE TO HAKIMASU (pant folding and wearing) * Perform OMOTE & URA All techniques Standing (TACHI) unless otherwise noted

31 Testing Requirements for 2 nd Rank NIKYU Minimum 120 hours practice MOROTE-DORI IKKYO, NIKYO, SANKYO, YONKYO * MOROTE-DORI IRIMINAGE * MOROTE-DORI KOTEGAESHI * MOROTE-DORI KAITENAGE (UCHI & SOTO) * MOROTE-DORI KOKYUNAGE * TSUKI IKKYO, NIKYO, SANKYO, YONKYO * YOKOMEN-UCHI GOKYO TO TANTO * SHOMEN-UCHI GOKYO TO TANTO * SHOMEN-UCHI SHIHONAGE * SHOMEN-UCHI KAITENAGE (SOTO) * RYOTE-DORI SHIHONAGE (HANMI-HANDACHI) * USHIRO RYOKATA-DORI KOKYUNAGE (HANMI-HANDACHI) KOSA-DORI JIYUWAZA RYOTE-DORI JIYUWAZA MOROTE-DORI JIYUWAZA * Perform OMOTE & URA All techniques Standing (TACHI) unless otherwise noted

32 Testing Requirements for 1 st Rank IKKYU Minimum 150 hours practice All Techniques from 6 th KYU through 2 nd KYU KATA-DORI SUMIOTOSHI (MAE, TAIJIN, & TENKAN) KATA-DORI KOKYUNAGE (HANA & KIRI) RYOTE-DORI SUWARINAGE (TAIIJIN & TENKAI) USHIRO RYOTE-DORI KOKYUNAGE - SOTO-TENKAN (formerly called KAKUHAN) - UCHI-TENKAN - KASA-OTOSHI - HIROGARU USHIRO RYOTE-DORI JUJINAGE (GARAME-GAESHI) * USHIRO RYOTE-DORI KOTEGAESHI * USHIRO RYOTE-DORI SHIHONAGE * SHOMEN-UCHI USHIRO RYOKATA OTOSHI KOSHINAGE JITSUEN (Hip throw demonstration) TANTO-DORI JITSUEN (Knife disarming demonstration) RANDORI JITSUEN (Multiple attackers demonstration) * Perform OMOTE & URA

33 Black Belt Testing Requirements YUDANSHA Minimum of one year since 1 st Rank and 150 hours practice KARA-TE WAZA (Empty-hand Techniques) All KYU Level Techniques KATATEDORI KIRIOROSHI ( 3 Versions) 1. SOTO TENKAN 2. UCHI TENKAI 3. UCHI KOMI KOSHINAGE JIYUWAZA RANDORI JITSUEN (3-5 opponents with GANMEN-ATE) BUKI UNDO TO KATA (Weapons Exercises & Forms) BOKKEN HAPPOGIRI (8-step cutting form) BOKKEN HAPPOTSUKI (8-step thrusting form) BOKKEN HACHI-UNDO (8 cutting forms - CHIBA) NIJU JO SUBURI (20 Basic staff movements SAITO) NIJU-NI NO JO KATA (22-step staff form TOHEI) SANJU-ICHI NO JO KATA (31-step staff form - SAITO) BUKI-DORI JITSUEN (BOKKEN, JO, TANTO demonstration)

34 Aikido Rank Progression YUDANSHA SHODAN Black Belt & Black HAKAMA 1 DAN Dark Blue HAKAMA 1 KYU 2 KYU 3 KYU Brown Belt 4 KYU Green Belt 5 KYU School Patch 6 KYU

35 Aikido Terminology This is a list of Japanese terms, which you will frequently hear used in the DOJO. By studying their definitions you will gradually discover many facets of Aikido practice and philosophy. It is important to your practice that you have a basic understanding of them. AI-HANMI AIKI ASHI SABAKI ATEMI ARIGATO GOZAIMASU BOKKEN BUKI CHIKARA DASHIKATA DESHI DOGI or GI DOJO DOSA FUNEKOGI GAESHI GYAKU GYAKU HANMI HAJIME HAISHIN UNDO NAGE and UKE face each other with the same foot forward (R/R) To blend, meet, or converge Footwork movement A feigned strike to the body intended to off-balance one s partner Thank you (present tense) / ARIGATO GOZAIMASHITA (past) Wooden practice sword Weapons Power (the opposite of force) Extension (of your KI, power, or energy) Student A uniform used in aikido and other martial arts A place of Japanese martial arts training Exercise Boat rowing exercise To turn outward / To counter Reverse or backward NAGE and UKE face each other with different feet forward (L/R) Begin Back stretching exercise

36 Aikido Terminology HANMI HANMI-HANDACHI HIDARI HIJIKIME HIJI GARAMI HO IRERU IRIMI JITSUEN JIYU WAZA JO-NAGE JO KAITEN KAMIZA KATA-TE KEN KIHON KI-KEN-TAI-ICHI KIRIOROSHI KIZA KOGEKI KOHAI The basic half-body stance in Aikido NAGE is seated in SEIZA and the UKE is standing Left Arm or elbow smash (a.k.a. UDE HISHIGI) Elbow twine (a.k.a. arm cross or JUJI) Another word for exercise Force (the opposite of power) Entering or moving off the line of attack to the opponent s dead side A demonstration Repetitive varied defensive techniques from a single attack Throws done when the UKE tries to take the JO from NAGE Short staff, usually between 50 and 55 long & 1 in diameter Rolling The front wall of the DOJO where a picture of O-SENSEI hangs refers to a same-sided, one-hand grab Sword (a.k.a. TO or TACHI) Basic or static version of a technique To move one s body as an integrated whole To cut downward The kneeling position with live toes (different from SEIZA) Attack A junior student, one who is lower rank than another

37 Aikido Terminology KOSA-ASHI KOBUSHI KOKYU-RYOKU KOYKU-DOZA KUMI-TACHI KUZUSHI MA-AI MAWASHI MIGI MOKUSOU NAGARE NAGE NUKITSUKE OJIRU OMOTE ONEGAISHIMASU OSAIERU Cross step Fist Breath Power A seated off-centering exercise done at the end of a practice session Paired sword forms To unbalance The proper spacing between the NAGE and the UKE To turn inward Right A command to meditate The flowing or dynamic version of a technique (stream or river) The partner executing a defensive technique in paired practice To draw from the hip (like unsheathing a sword) To respond Checking toward and/or moving toward the front side of the opponent A polite phrase used when asking for assistance, a favor or request. To hold down O-SENSEI A reference of respect to the Founder, Morihei Ueshiba ( ) OTOSHI RANDORI REI REI-SHIKI RENZOKU WAZA To sweep down / Drop Throw The practice of defending yourself from multiple attackers A command to bow Etiquette The practice of consecutive techniques without stopping

38 Aikido Terminology SABAKI SANKAKUTAI SEIZA SEMPAI SENSEI SHINZA SHISEI SHIKKOU SHIZENTAI SHOMEN SHOMEN NI REI SOTAI DOSA SUMI OTOSHI SUWARI TACHI TAI TAI-JIN TAI NO SHINTAI TAI SABAKI TANDOKU DOSA TANTO TEGATANA motion; the general term for body movements used in Aikido Triangular Stance The formal Japanese seated /kneeling position A senior student, one who is higher rank than another Teacher Testing Event or Testing Criteria Upright posture Knee-walking Natural stance Top of head; or the front wall of the DOJO Bow to the front! A command used to begin class Paired Exercises Corner drop throw / elegant throw technique Technique performed by NAGE from the kneeling position Techniques performed from the standing position Body To retreat Moving with a stable center Upper body (hand/arm) exercises Solo Exercises Wooden dagger or knife Hand-blade or knife edge

39 Aikido Terminology TEKUBI SHINDO TENKAI-ASHI TENKAN-ASHI TE NO UCHI TOBI UKEMI UDE HISHIGI UDE NOBASHI UDE OSAE UKE UNDO UKEMI URA USHIRO-WAZA WAZA YAME ZA-HO ZANSHIN Wrist shaking exercise To pivot in place To turn around by pivoting on the front foot Proper sword grip Full-force falling and rolling Arm smash (a.k.a. HIJI-KIME) Arm lock Arm pin Receiver of a technique; the attacker Exercise Falling and rolling Rear or in back of, techniques performed behind the UKE Defenses to attacks from the rear A technique Stop Sitting (usually in the SEIZA or kneeling position) Martial awareness / Martial intent The true warrior learns how to correctly perceive the activity of the Universe and how to transform martial techniques into vehicles of purity, goodness, and beauty." Morihei Ueshiba

40 Aikido Basic Attacks KOGEKI SHOMEN-UCHI Overhead strike YOKOMEN-UCHI Strike to the side of the head MUNE-TSUKI Punch (or punch to the chest) GANMEN-TSUKI Punch to the face GYAKU-TSUKI Reverse punch or back fist KATATE-DORI UKE grabs one wrist with one hand (opp. side, e.g. L to R or R to L) KOSA-DORI Same side, one-hand cross-hand grab (same side, e.g. R to R or L to L) USHIRO MI-DORI Body grab ( Bear hug ) KESA-DORI Front lapel grab (a.k.a. MUNE-DORI) ERI-DORI Rear lapel grab at the base of the neck RYOTE-DORI UKE grabs both wrists, one with each hand MOROTE-DORI UKE grabs one wrist with both hands KATA-DORI UKE grabs one shoulder or chest with one hand RYOKATA-DORI UKE grabs both lapel or shoulders with both hands USHIRO TEKUBI-DORI Two handed wrist grab from behind (a.k.a. USHIRO RYOTE-DORI) TESAKI-DORI Finger grab (a.k.a. YUBI-DORI) KUBISHIME One-armed choke from behind Techniques employ four qualities that reflect the nature of our world. Depending on the circumstance, you should be: hard as a diamond, flexible as a willow, smoothflowing like water, or as empty as space. Morihei Ueshiba

41 Aikido Basic Techniques KIHON WAZA IKKYO First technique, Arm pin NIKYO Second technique, Wrist in-turn to arm pin SANKYO Third technique, wrist twist to arm pin YONKYO Fourth technique, wrist pin GOKYO Fifth technique, arm stretch with wrist pin IRIMI-NAGE Entering throw KOTE-GAESHI Throw from outward wrist twist SHIHO-NAGE Spinning, four direction rotational throw TENCHI-NAGE Heaven and Earth throw KAITEN-NAGE Rotation throw KOKYU-NAGE Breath throw KOSHI-NAGE Hip throw HIJI-NAGE Under the elbow throw (a.k.a. TENBI-NAGE) JUJI-NAGE Tangled arm throw, cross at elbows then throw SUMI-OTOSHI-NAGE Corner Drop Throw HIJIKIME (HISHIGI) Elbow smash (Arm smash) Cast off limiting thoughts and return to true emptiness. Stand in the midst of the Great Void. This is the secret of the Way of a Warrior Morihei Ueshiba

42 Footwork ASHI SABAKI HANMI Basic Aikido Stance, one foot is in front pointing forward, the rear foot is perpendicular (45-90 degrees) pointing to the side; feet are shoulder width apart (measured from heel to heel); weight is evenly distributed between both feet; hips are rotated toward the forward foot ( HAN means half, MI means body or half-body stance) AI-HANMI Two students face each other in basic HANMI stance; both people have either their left foot forward or both have their right foot forward, thus creating a same-sided stance GYAKU-HANMI Two students face each other in basic HANMI stance, one person has their left (or right) foot forward, the other person has the OPPOSITE foot forward, thus creating a mirror image stance OKURIASHI MAE From HANMI, slide forward with the front foot by pushing off with the back foot OKURIASHI USHIRO From HANMI, slide backward with the back foot by pushing off with the front foot AYUMIASHI MAE From HANMI, slide the back foot forward and return to HANMI with the (IRIMI) opposite foot now forward AYUMIASHI USHIRO From HANMI, slide the front foot backward and return to HANMI with the (TENSHIN) opposite foot now forward TENKAI From HANMI, turn your head and pivot your feet 180 degrees to face the opposite direction in HANMI; sometimes also called KAI-TEN TENKAN From HANMI, turn your head and pivot your feet 180 degrees to face the opposite direction. Then step back with your front foot back into HANMI.

43 Option 1 Perpendicular Stance - HANMI HIDARI HANMI (Left Stance) 90 MIGI HANMI (Right Stance) 90 Option 2 Angled Stance - HANMI HIDARI HANMI (Left Stance) 45 MIGI HANMI (Right Stance) 45

44 Paired Same-side Stances AI-HANMI HIDARI AI-HANMI Left Same side stance UKE MIGI AI-HANMI Right Same side stance UKE R L L R L R R L NAGE NAGE

45 Paired Mirror-image Stances GYAKU-HANMI HIDARI GYAKU-HANMI Left mirror-image stance UKE MIGI GYAKU-HANMI Right mirror-image stance UKE L R R L L R R L NAGE NAGE

46 ATANA / MEN (Head) SHOMEN (Top of Head) KUBI (Neck) YOKOMEN (Side of Head) MUNE (Chest) GANMEN (Face) KATA (Shoulder) HARA / TANDEN (Belly / Center) AGO (Chin) NODO (Throat) HIJI (Elbow) MATA (Groin) UDE (Arm) TEKUBI (Wrist) KOTE (Forearm) TE (Hand) YUBI (Fingers) or TESAKI KOSHI (Hips) HIZA (Knee) ASHI (Leg) TSUMASAKI (Toes)

47 Hakama Etiquette Shortly after earning go-kyu (5 th kyu), it is the student s responsibility to politely ask an instructor to teach them the proper way to fold a hakama. It is polite for a student to ask an instructor if he/she could fold the teacher s hakama after class. It is also a privilege to be allowed to fold an instructor s hakama especially if that person is a guest or visiting instructor. However, do not be offended if an instructor declines your offer. Some instructors prefer to fold their own hakama. Knowing how to fold a hakama is a requirement for black belt. After all, you can t wear it if you can t care for it. Life itself is always a trial. In training, you must test and polish yourself in order to face the great challenges of life. Transcend the realm of life and death, and then you will be able to make your way calmly and safely through any crisis that confronts you. Morihei Ueshiba In our techniques, we enter completely into, blend totally with, and control firmly an attack. Strength resides where one s ki is concentrated and stable; confusion and maliciousness arise when ki stagnates. Morihei Ueshiba Foster and polish the warrior spirit while serving in the world; illuminate the path according to your inner light. Morihei Ueshiba Be grateful even for hardship, setbacks and bad people. Dealing with such obstacles is an essential part of training in Aikido. Morihei Ueshiba

48 1. Holding the back of the hakama under your chin open the hakama, reach inside, and push the center to the right. Then lay the hakama face down on the floor. 2. Interleave and straighten the pleats. 3. Grasping the top and the bottom, flip the hakama over keeping the back pleats aligned. 4. Flatten and straighten the front pleats. 5. Fold in the sides of the hakama, giving the hakama an even, symmetrical width. 6. Fold the hakama into thirds, starting at the bottom and finishing with the top. Longer hakama may require an additional fold. 7. Using your hand, crease and fold the 1 st third, followed by the 2 nd third. 8. Place the hakama with the back up. Take the long front himo and fold in half. 9. Fold once more so the himo have been doubled twice. 10. Repeat with the second himo and cross diagonally. 11. Take the short back himo and lay on top of the folded himo, bring under the point where the folded himo cross so it is pointing toward the top of the hakama. 12. Now bring the himo diagonally downward over itself. 13. Wrap the himo under so it is now pointing diagonally upward. 14. Lay the himo on top of the folded himo so it is pointing downward in the same direction as it started from. 15. Wrap the second himo in the same way. If the himo are too long double the ends back under. 16. Second method. Wrap the himo in front of the hakama instead of back as shown. 17. Fold the hakama once more in half and tuck it under the himo. 18. You re done. If your head is spinning, ask an instructor to show you.

49 Anatomy of a DOJO

50 Proper SEIZA Position and REI Execution SEIZA Proper Seated Position 1. Knees 1-2 fist widths apart 2. Big toes side by side 3. Posture upright 4. Fingers together 5. Hands on thighs (not knees) REI HO Proper Bowing Position 1. Don t let your head touch the floor (forehead 6 from floor) 2. Don t lift your head up 3. Don t lift your hips off your ankles 4. Elbows graze the side of your knees as you bow

51 Iaido Traditional, Japanese Swordsmanship Aikido students are encouraged and invited to check out our Thursday evening Iaido class. Iaido is the traditional Japanese art of drawing the samurai katana. It is very different, but also very complementary to practicing Aikido. In this class students wear traditional Japanese hakama from day one and use an unsharpened, but otherwise real samurai sword. Iaido is a kata-based art and contains no actual contact or combat. It is often great for students who may want to practice a martial art, but have weak knees, back, or shoulder which may Aikido too challenging for them. Please come watch an Iaido class to see if it is right for you. Thursday Evenings from 7:00pm 9:00pm

52 Weapons Curriculum (BUKI KATEI) The following weapons curriculum is not required for KYU (under black belt) level testing, but rather is reserved for YUDANSHA (black belt )level testing.